Name: HAT DUG by IMF
Duration: 45 s
Description: Out of the frustration of Curtis Roads and Alberto De Campo's Pulsar Generator being incompatible with current operating systems, my colleague Reed Evan Rosenberg and I have been working towards building our own version in Max/MSP. Although a little rough around the edges, our work has so far proven to be successful and these tracks document the development along the way.

9 April 2021

This patch is from a series of jams featuring an all ALM groovebox style setup with sequencing from the ASQ-1 & Pam, sounds from Squid, Akemie’s Taiko & Tyso Daiko, and mixing via 2 MEGA-TANGs, Jumble Henge & MFX. A faderbank with 16 offsets is patched around the system for performance and macro controls (making use of the assignable CV inputs of Squid, Pam and MFX). 

Patch notes:
A chord sound from Squid starts off the track with a different cue set for each chord shape. Each time the channel is triggered, the next cue set is selected to back a new chord.  

The bass line is created using Akemie’s Taiko with pitch sequencing from the freely looping Quaid Megaslope into the ASQ-1 Quantiser. The Taiko is processed through the MCFx2 with envelope modulation from a Pip Slope that’s triggered at the same time. Using one of the faderbank offsets to the Taiko’s ‘Ratio’ CV input, the bass line is transposed up to produce a lead sound at select times. 

The remaining drums and percussion sounds come from the Squid and Tyso Daiko.

Watch

Ed2d System Jam #2

80s UK House Mix by Tom Carruthers

1 hour long of chicago style house, beat tracks, and released & unreleased tracks by Sweater On Polo @sweateronpolo

"Sweater On Polo is a New York based electronic producer and DJ. His music foregrounds the live-wire hardware approach to house and techno music. Influenced by 1980's Chicago house and dubbed out New York garage house, Sweater On Polo refreshingly brings the foundations of early dance music into a contemporary context, while still finding new ways to innovate upon those early ideas and find his own style."

Episode 71w/Sweater On Polo

Out of the frustration of Curtis Roads and Alberto De Campo's Pulsar Generator being incompatible with current operating systems, my colleague Reed Evan Rosenberg and I have been working towards building our own version in Max/MSP. Although a little rough around the edges, our work has so far proven to be successful and these tracks document the development along the way.  

HAT DUG

00:00–06:58 CC weight = 0.1 iter = 500
07:01–11:53 scattering transform Q = 12 J = 10 sc = tf wvlt = gam 
11:53–19:35 CC weight ordered

© Florian Hecker 2018

Florian Hecker 1935

16 July 2020

A digital release on Superpang Label: https://superpang.bandcamp.com/album/groups-articulations-of-the-real

The work derives from a study of the group theory and sonification model of physical objects interacting with each other according to various forces such as attraction, repulsion and gravity. In the context of music composition, the group theory was developed by Iannis Xenakis as a method organizing musical objects into so-called “sound complexes” (Xenakis prominently used the method in Nomos Alpha (1965) for solo cello). “Sound complexes” are highly structured musical objects which - alike Gestalten in perception theory - can be easily recognized from a perceptual point of view.

Fundamental for the emergence of ‘Groups: Articulations of the Real’ was a computer simulation of physical force fields. A force field is a mathematical expression describing the dependence of the energy of a system on the coordinates of its particles. It consists of an analytical form of the interatomic potential energy and a set of parameters entering into this form. The parameters are obtained by fitting to experimental data.

The iterative form of the composition moves from a global perspective of objects gradually attracting each other, oscillating, merging and colliding with its elastic boundaries, towards a close-up view of a rupture. In a way, the work attempts to articulate the real physical processes through computer-generated sound.

SP34|Marcin Pietruszewski - Groups: Articulations of the Real

"818612

The parameters of this selection are that these are all 12" vinyl singles (also known as Maxi-Singles) from the years 1981-1986.
All original copies. No reissues, no repress, no remaster.
The only theme here is the format and I listened to them frequently in said period.
Selected and recorded one after the other, including silence, needle drops and pick ups.

Peter Rehberg, Vienna, 11.2020.

Track list in order of appearence, artist: title (label, year)

New Order: Hurt (Factory, 1982)
Deutsch Amerikanische Freundschaft: Der Mussolini (Virgin, 1981)
Holger Hiller: Das Feuer (Cherry Red, 1984)
Carlos Perón: Et (K.422, 1984)
Mark Stewart: Hypnotized (Mute, 1985)
Depeche Mode: Are People People? (Adrian Sherwood Re-remix) (Mute, 1984)
Non: Rise (Mute, 1982)
Yello: Daily Disco (Do It Records, 1981)
Severed Heads: Dead Eyes Opened (Ink, 1984)
Hard Corps: Je Suis Passée (12” Extended French Version) (The Immaculate Concept, 1985)
Cabaret Voltaire: Yashar (John Robie Mix) (Factory, 1983)
The Human League: Hard Times / Love Action (Virgin, 1981)
Coil: The Anal Staircase (Rico Conning Dionysian Mix) (Force & Form/K.422, 1986)
Einstürzende Neubauten: Yü-Gung (Adrian Sherwood remix) (Some Bizzare, 1985)
T.D.A.: Faces Of Freedom 2 (Some Bizarre, 1985)
Fats Comet: Rockchester (World Records, 1986)
Tackhead: Is There A Way Out (On-U Sound, 1985)
Afrika Bambaataa & The Soul Sonic Force: Planet Rock (Instrumental)’ (Tommy Boy, 1982)
Hashim: Al-Naafiysh (The Soul) (Cutting, 1983)
New Order: The Beach (Factory, 1983)
Section 25: Looking From A Hilltop (Megamix) (Factory, 1984)
Foetus Art Terrorism: Calamity Crush (Some Bizzare, 1984)
Coil: Tainted Love (Force & Form/K.422, 1985)
Duet Emmo: Or So It Seems (Mute, 1983)
Laibach: Die Liebe (Cherry Red, 1985)
Cabaret Voltaire: Crackdown (Some Bizzare, 1983)
Renaldo & The Loaf: Hambu Hodo (Some Bizzare, 1986)
Colourbox: The Offical Colourbox World Cup Theme (4AD, 1986)
Swans: A Screw (Rico Conning Mix) (K.422, 1986)
Test Dept: Compulsion (Some Bizzare, 1983)
23 Skidoo: The Gospel Comes To New Guinea (Fetish, 1981) "

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SI009 - PETER REHBERG

https://olilarkin.github.io/fourses/
https://github.com/x75/smp_audio

24 January 2021

RM Francis is an artist living in Seattle who works with computer-generated sound. His most recent releases are A Taxonomy of Guffaws, on ETAT, and Nth White Dot, on Conditional. https://www.rmfrancis.net/

Jack Callahan is a composer and sound engineer based in New York. Since 2013 he has been primarily working under the moniker die Reihe, taken from the journal edited by Herbert Eimert and Karlheinz Stockhausen. He runs Bánh Mì Verlag, an imprint dedicated to contemporary experimental music and culture. His music has been called "unbelievably bad," "tiring," "unsurprising" and "boring," in one case all by the same person. https://en.wikipedia.org/wiki/Jack_Callahan_(musician)

Jeff Witscher is a musician who currently manages his own custodial and maintenance company Vincent’s Expert Cleaners in Portland, Or. He has recorded under many different names, Rene Hell perhaps being the most known. He focuses primarily on sound composition as well as video works for his live performances. Recent solo recordings include Approximately 1,000 Beers (2018), Fy Monkey Sisaj Kura (2017), Cob Music (2016), Bifurcating a Resounding No! (2014) and Vanilla Call Option (2013). https://en.wikipedia.org/wiki/Jeff_Witscher

In Every Single Person Has Some Muscle RM Francis reinterprets Jack Callahan and Jeff Witscher’s 2019 composition What Happens on Earth Stays on Earth as an abstract drama of entropy set in the uncanny valley of artificial speech. The six human voices of What Happens on Earth Stays on Earth have been replaced by machinic proxies synthesized from the speech of the original performers. Vestiges of the organic appear briefly to comment on their own retreat from the realm of the audible before withdrawing to the edges of speech, out of which their inchoate vocalizations obtrude intermittently on the unfolding narrative. Whereas the original work was indebted to Robert Ashley’s spoken operas, Every Single Person Has Some Muscle redeploys the iterative strategy of Alvin Lucier’s I Am Sitting in a Room in the domain of machine listening, in which the transcription errors of commercial dictation software replace acoustic reverberation as the means by which the human voice is eroded, yielding a compositional logic based on phonetic drift and semantic refraction. Featuring the voices of Josh Haringa, Daren Ho, Madalyn Merkey, Colleen O'Connor, Nihal Ramchandani, and Asha Sheshadri. Mastered by Jack Callahan.

Wayward in Limbo #88 – Francis/Callahan/Witscher

Ian M. Fraser is a computer musician working in free improvisation and algorithmic based composition. His primary focus is generative structures, pseudo-artificial intelligence, and stochastic processes. With Reed Evan Rosenberg, he works with the continual development of Keroaän, a musical Artificial Intelligence designed to perform without any human intervention whatsoever. In live performance they combine live generative works with real-time visualizations utilizing high intensity strobe lights and lasers.

HAT DUG

IMF

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